Vilèm Flusser: crítica estética e imagen tecno-visuals

AUTOR(ES)
FONTE

Galáxia (São Paulo)

DATA DE PUBLICAÇÃO

2013-06

RESUMO

The aesthetic shift in art is ascribed mainly to Kant and Hegel. In this context, the concept of visual image emerges, ensnaring art in the meshes of aesthetics. At that time, modernity reaches full maturity, enabling a shift in Western philosophy that aestheticizes reason. This shift is radicalized in so-called post-structuralism, and it is Vilém Flusser, with his nomadic and undisciplined nature, who introduces a radical critique of Hegelian thought, based on the "technical image" as "praise of superficiality" or, in our view, as "screen theory." The intervening and subsequent critical approaches in deconstructive crisis, fundamentally in the case of Derrida, destabilize and expand the aesthetic approach, starting from the boundaries (parergon) and the questioning of the "truth" of the visual. Post-aesthetics, in both Badiou and Rancière, questions the unaesthetic (Badiou) on the one hand, and the divide of the sensitive (Rancière) on the other. This text analyzes critique and aesthetics in both Kant and Hegel, the visual shift in Flusser, the deconstruction and shift of the so-called post-Althusserians (Badiou and Rancière), and the implication of the technical image, which, from the superficial to the deep, enables us to delineate the outlines of a screen theory.

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